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TEACHING THE GRAPHIC NOVEL: RUTU MODAN’S EXIT WOUNDS Naomi Sokoloff University of Washington The graphic novel has come into its own in the academic world. Increas- ingly, it has become the subject of scholarship, and comic books are being taught widely at universities in composition, literature, and culture courses. Just one indication of this phenomenon is the fact that in 2009 the MLA published a collection of essays called Teaching the Graphic Novel.1 C o mi c s have also found recent success in Hebrew, in the work of Rutu Modan, Yirmi Pinkus, Itzik Rennert, Asaf and Tomer Hanuka and others.2 In college level Hebrew courses, such texts present opportunities for strengthening language skills at the third year and beyond, while also presenting substan- tive stories of Israeli life. Furthermore, as a newly emergent genre that com- bines visual and textual elements, graphic novels offer welcome opportunity to introduce students to narrative theory in general, as well as to the distinc- tive narrative possibilities of this artistic medium. My comments here focus on Rutu Modan’s Karov Rahok. This novel provides an instructive example of graphic novel that can be adopted use- fully as a teaching tool. Modan’s work also illustrates how comics are over- coming initial resistance within the world of Hebrew literature and gaining greater acceptance. Although the author composed the dialogue in her native Hebrew, she published this novel first in English (under the title Exit Wounds, in 2007)3 because she anticipated a bigger audience that way. In Israel at the time, graphic novels were not widely accepted as literary art. Only after it enjoyed many accolades abroad and translation into multiple languages was this novel published in Hebrew in 2008.4 As I lay out my reading of Karov Rahok and suggest approaches to teaching it, let me note from the start that I use both Hebrew and English as 1 S. E. Tabachnick, ed. Teaching the Graphic Novel (New York: Modern Language Association, 2009). 2 For an outline of these trends, see S. Baskind and R. Omer-Sherman, eds. “Introduction,” in The Jewish Graphic Novel: Critical Approaches (Rutgers University Press, 2008), pp. xv–xxvii. This anthology also includes two essays that deal directly with Israeli comics. 3 R. Modan, Exit Wounds (Montreal: Drawn and Quarterly, 2007). 4 R. Modan, Karov Rahok (Tel Aviv: Am Oved, 2008). See the interview with Joe Eskenazi from October 27, 2007: http://www.jweekly.com/article/full/33661/uncommon-comic/ (accessed May 19, 2012). One of the curiosities of this publication process is that Modan drew the panels in keeping with the left-to-right orientation of English books. Publication in Hebrew then affected the design of some of the drawings and entailed the reversal of some panels. Exit Wounds won the Will Eisner Comic Industry Award in 2008. HHE 15 (2013) 90 Sokoloff: Teaching the Graphic languages of instruction in the classroom. In a small program with few truly advanced students of Hebrew, I opt for a “both/and” rather than an “either/ or” solution to the challenges of teaching introductory literature courses. Some class sessions are dedicated to activities in the target language (such as listening, reading aloud, summarizing, and practicing vocabulary); other ses- sions, designated for English discussion, serve as an additional way to focus closely on the language of the text. My stance grows out of a conviction that one of the most important goals of literature courses is to equip students with tools for close reading and to provide exercises in sustained focus, concen- tration, and textual analysis. In my remarks here I begin with comments on building language skills, but I am particularly interested in arguing that Hebrew literature courses—for students at level gimmel or above—ma y serve as suitable venues for introduction to narrative theory. Presenting con- cepts from that field can both enliven discussion of specific literary texts and also strengthen students’ long-term reading strategies.5 1. LANGUAGE SKILLS Karov Rahok lends itself easily to building Hebrew language skills. First, it effectively fosters classroom discussion in Hebrew, since the verbal com- ponent on the page is often at a minimum, supported by maximum visual context. Furthermore, much of the printed text consists of short conversa- tional exchange among the characters, making use of everyday vocabulary, slang, and onomatopoeia. These features make the material highly accessi- ble. Moreover, because this is a sequential art, consisting of static panels that imply motion, graphic novel easily elicits plot summary. Comics are better than film for this purpose because the pictures are not themselves in motion, and so students can take as much time as they want to absorb each panel. In addition, it is natural for readers to fill in the gaps in between the panels. Theorists of graphic art such as Scott McCloud and Pascal LeFevre note that panels suggest a sequence of events while representing only a “subset of significant actions.”6 It is readers themselves who seek coherence and who, through active reading, construct a continuous, unified storyworld out of the 5 I have pursued this argument at greater length in N. Sokoloff, “Teaching Narrative Theory: Etgar Keret’s ‘Goldfish,’” Hebrew Higher Education 14 (2012): 77–89. 6 P. LeFevre, “Some Medium-Specific Qualities of Graphic Sequences,” SubStance 124, vol. 40.1 (2011): 14–33. The quotation is from p. 26. Scott McCloud’s Understanding Comics: The Invisible Art is a foundational text in the field of comics criticism (New York: Harper Collins, 1993). A helpful survey of recent trends in comics criticism and theory can be found in J. Gardner and D. Herman, “Graphic Narratives and Narrative Theory: Introduction,” SubStance 124, vol. 40.1 (2011): 14–33. HHE 15 (2013) 91 Sokoloff: Teaching the Graphic visuals provided them. As graphic novels encourage readers to piece to- gether narrative action, this genre can readily prompt students in the class- room to articulate plot lines and story arcs. In addition, comics are especially useful for eliciting description. In my experience teaching Karov Rahok, students are quick to comment on appearances, settings, and physical inter- actions that are expressed through drawing style. Thanks to the three main facets of comics just mentioned—the buttress- ing of verbal components with visual ones, the deployment of sequential panels, and drawing style—even readers with limited Hebrew arrive with ease at fundamental understanding of the actions and themes of Karov Rahok. In this tale, Koby, a taxi driver in Tel Aviv, meets Numi, a young woman who reports that his father may have died in a suicide bombing. To- gether they begin to search for him, and as they search they uncover sur- prising stories about the past. Koby has not heard from his father, Gabriel, for a long time, and he is shocked to discover that Gabriel had a love affair with Numi, as well as with a woman from a moshav, with a haredi woman too, and perhaps even with Koby’s Aunt Ruti. Gabriel has left all of them feeling abandoned—not to mention Koby’s mother and Koby himself. Along the way readers learn that suicide bombings have affected many people, who must deal with a variety of physical and emotional wounds. How those people respond to the pain may rip them apart, but it may also bring them closer together. Accordingly, the title Karov Rahok—meaning “a distant relative”—can refer to the emotionally inaccessible father who has disappeared from his son’s life. Understood more generally as meaning “near/far,” the title points to a wider web of social connections in contempo- rary Israel, suggesting ways in which national security issues and the uncer- tainties of everyday life draw people closer together and also drive them away from one another. All of this can be discussed in Hebrew at a basic level, and a variety of exercises can be developed to enhance students’ understanding of the mate- rial. There exists an abundant pedagogical literature on comics (particularly in the field of French, since in France, Belgium and other parts of the Francophone world comics for decades have held considerable prestige), and those studies include a range of suggestions for productive lesson plans.7 Useful assignments might be, for instance, to imagine the thoughts of characters in a silent frame; to describe what’s hidden from view; to fill in 7 See for example, an overview of the field, already well established decades ago, in R. K. Marsh, “Teaching French with the Comics,” The French Review 51.6 (May 1978): 777–785. HHE 15 (2013) 92 Sokoloff: Teaching the Graphic blanked-out word balloons with appropriate sentences; to arrange selected sentences in proper sequence based on the visuals at hand; or to create com- pound sentences in order to practice the use of causal or temporal con- nectors. The question remains how best to integrate such exercises with analytical discussion. As a proponent of ivrit b’ivrit approaches for ulpan setting, and as some- one who has come to accept that discussion in English is necessary for so- phisticated literary analysis in the classroom, I aim for alternating sessions: one in Hebrew, followed by one in English. The fact that the English edition of this novel is well-known and easy to access enhances a dual-language ap- proach and helps bridge the two approaches. It is a plus that Exit Wounds can serve as a resource for students in their first encounter with Karov Rahok and help ease them into understanding the Hebrew. Also, and much mo r e importantly, tandem use of the English version with the Hebrew version gives rise to comparisons, alerting students to the need for close reading, and demanding that they pay attention to the exact wording in each language.

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